This subseries includes scripts chosen as part of the New Works Readings Series.

This subseries consists of script files submitted for the New Works Readings Series that were rejected by the IRT. The files include scripts, cover letters, curricula vitae, correspondence with authors, and reader reports.

This subseries documents the IRT's cooperation with labor unions representing performers in New York City and the work of the IRT's Board of Directors. This subseries includes correspondence and contracts. Labor unions include the Actors' Equity Association, the United Scenic Artists, Local 802 Associated Musicians of Greater New York, and the Stage Directors and Choreographers Society. Material documenting the work of the Board includes correspondence and meeting agenda and minutes.

This subseries documents the work of Ciarán O'Reilly, co-founder and Producing Director of the IRT. Materials consists of paper and born-digital material and includes correspondence, budgets, notes, box office reports, and scripts. Correspondence includes negotiations with the Actors' Equity Association, requests for and acknowledgements of financial support for productions and the IRT, and licensing for scripts. This subseries contains material regarding the production of Grandchild of Kings, a production adapted from Sean O'Casey's autobiographies, directed by Harold Prince. This subseries also includes letters from O'Reilly to IRT members and sponsors, labor unions, and directors of productions at the IRT, including Tony Walton and Frank McCourt.

This subseries documents the work of two of the General Managers of the IRT, Shelley A. Troupe and Meridith Sommers. Responsibilities of this role documented in this subseries include managing day-to-day activities of the IRT, organizing the IRT's annual benefit, participating in advertising and development campaigns, managing the box office, and tracking compliance with the Actor's Equity Association (AEA) contracts. Material in this subseries consists of paper and born-digital material and includes correspondence, budgets, audits, contracts, photographs, box office reports, meeting agenda and minutes, and promotional material. This subseries includes Board of Directors meeting agenda and minutes and correspondence with the AEA, IRT members and sponsors, vendors, and insurance providers.

This subseries documents the work of two of Membership Managers of the IRT, Heather Kray and Eric Scott. Responsibilities of this role documented in this subseries include maintaining relationships with current theatre members as well as with advertisers. This subseries consists entirely of born-digital material and includes correspondence, spreadsheets, and promotional material.

This subseries documents the work of the Marketing Department, including branding, promotion of the IRT and its productions, development of the capital campaign to renovate the theatre from 2014 to 2016, and the creation of a new website in 2012. The material in this subseries consists of paper and born-digital material and includes correspondence, promotional material, spreadsheets, photographs, blueprints, floor plans, and artwork. This subseries contains the Marketing Department's archive of promotional material for individual productions for seasons 2003-2004 to 2016-2017, material detailing the creation of the IRT's new website in 2012, guidelines for IRT branding standards, and artwork used in the creation of promotional material. Material detailing the development of the capital campaign includes a brochure and statement regarding the campaign, photographs and videos used to promote the campaign, and photographs of the theatre before, during, and after the renovation.